EMERGING IN the early eighties, unsigned at the time, Autograph were hand picked by Van Halen to open a mammoth North American concert trek – an accomplishment that quickly led to their inking with industry giant RCA Records and an ensuing hit single, the energetic and infectious, ‘Turn Up The Radio’ which made the US top 30 in the same year.

Feted and championed by the hard rock cognoscenti (supporters included Mötley Crüe and Ozzy Osbourne) this Los Angeles based quintet made all the right noises by packing both melody and muscle into their music; highly valuable commodities that found Autograph reaching a level of success that would see them out perform most of the competition.

‘Sign In Please’ was, then, the bands highly praised debut album, unleashing a beast of significant fire power and songs that would stand not only the test of time but would also improve with age including the classic hit single ‘Turn Up The Radio’. Taped by renowned British producer Neil Kernon (Queensryche, Dokken etc) the album exudes Class-A hard rock all the way with big hooks and solid riffs. Definitely one of the greatest albums from the 1980’s LA scene.

24-bit remastering from original source tapes, 4,000 word story of the making of the album by Pail Suter and exclusive interview with Steve Plunkett, previously unpublished photos, one bonus track, all spread out over a super 12 page full colour booklet.

Track listing: Send Her To Me, Turn Up The Radio, Nighteen & Non Stop, Cloud 10, Deep End, My Girlfriend’s Boyfriend Isn’t Me, Thrill Of Love, Friday, In The Night, All I’m Gonna Take. Bonus Track: Turn Up The Radio (remix)

THE DIFFERENCE between achieving success and failing can be down to the most tenuous of reasons. For Cobra the early signs were better than most. They wrote great songs, were fronted by a world class vocalist in Jimi Jamison (later to join Survivor), had first class management (Butch Stone) holding the business reigns and, best of all, the colossal firepower of Epic Records right behind them. Inexplicably, however, the record failed to connect, taking the wind out of their sails and forcing an early retreat into the file marked ‘strictly for connoisseurs’.
Although based in Memphis (by way of Switzerland) the band was truly an international collaboration featuring three Americans and two Swiss renegades; Mandy Meyer (from Krokus) and Tommy Keiser (who would also go on to play with Krokus). The Memphis contingent also had some serious form; Jimi Jamison having fronted A&M signed blues rockers Target and guitarist/keyboard player Jack Holder, a Memphis legend having seen active duty as a member of Black Oak Arkansas amongst many other accomplishments. Together with super-fit drummer Jeff Klaven, the band constructed a stunning, but melodic, hard rock sound that has not dated one jot.
Originally issued in 1983 and produced by ‘Colonel’ Tom Allom (Judas Priest, Krokus, Def Leppard etc), the ‘First Strike’ remains one of the best and certainly one of the most criminally overlooked albums of the era

24-bit remastering from original source tapes, 4,000 word story of the making of the album by Dave Cockett and exclusive interview with Jimi Jamison, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: Blood On Your Money, Only You Can Rock Me, Travellin’ Man, I’ve Been A Fool Before, First Strike, Danger Zone, Looking At You, Fallen Angel, What Love Is, Thorn In Your Flesh

THE NAME RICK Springfield might conjure up two entirely different images: On one hand he was the young and dashing Dr Noah Drake in the hugely successful and long-running US TV soap ‘General Hospital’. On the other he was the radiant rock star, issuing a string of extremely successful solo albums and hit singles during the eighties. Known as a consummate professional, Springfield delivered superb, tightly crafted songs with an ear for melody and an eye on the charts; a truly remarkable accomplishment.

‘Tao’, his seventh album, signalled a shift in his creative outlook. This is an album that reflects a dramatic and conscientious musical shake up, with an emphasis on sharper songs, cleaner sounds and – undeniably - his most committed lyrics to date. But that is not to say that he had strayed to far from his melodic rock roots.
Packing a lean and mean punch, ‘Tao’, originally released in 1985, remains a firm favourite amongst long-time fans, displaying clean lines, cutting edge production chops, intensely personal lyrics and a thirst for the future, all qualities that assisted Rick to stay at the sharp end, whilst still offering up singles, in ‘State Of The Heart’ and ‘Celebrate Youth’ plus the defining album cut ‘My Father’s Chair’”

24-bit remastering from original source tapes, 4,000 word story of the making of the album by Malcome Dome and exclusive interview with Rick, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Dance The World Away’, ‘Celebrate Youth’, ‘State Of the Heart’, ‘Written In Rock’, ‘The Power Of Love (The Tao Of Love)’, ‘Walking On The Edge’, ‘Walk Like A Man’, ‘The Tao Of Heaven’, ‘My Father’s Chair’, ‘Stranger In The House’.

 WHEN ACTORS TURN their attention to music the results are often catastrophic. One notable exception, however, is Rick Springfield, a multitalented actor/musician who ran hugely successful parallel careers during the eighties, notching up a succession of hit records and taking a staring role as Dr Noah Drake in ‘General Hospital’, one of the era’s most popular US soap operas.
 
‘Living In Oz’ showcased a slightly different creative tack for Springfield, who opted to modify his existing sound with deeper, more personalised lyrical themes, yet still retain a pop-rock sheen. That’s not to say that ‘Living In Oz’ is a down-beat affair - far from it. The album boasts two major hit singles in the brilliantly evocative ‘Affair Of The Heart’ and the instantly catchy ‘Human Touch’. Two tracks that helped to drive this album to platinum success and beyond. It is a truly exceptional and quite brilliant work.

24-bit remastering from original source tapes, 4,000 word story of the making of the album by Malcome Dome and exclusive interview with Rick, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Human Touch’, ‘Alyson’, ‘Affair Of The Heart’, ‘Living In Oz’, ‘Me & Johnny’, ‘Motel Eyes’, ‘Tiger By The Tail’, ‘Souls. ‘I Can’t Stop Hurting You’, ‘Like Father, Like Son’.

DURING THE LATE seventies and early eighties the American rock scene was bursting with deliciously ambitious talent, none more so than New York based quintet Touch. Led by Mark Mangold, a veteran of the scene, the band locked into a style of melodic hard rock music that would eventually father multi platinum artists such as Bon Jovi, Nightranger, Survivor and ? Focusing on supremely crafted songs with huge hooks, luscious vocals and razor sharp arrangements, the bands debut album immediately struck a chord with fans and critics alike.

With such rich talent on display it was hardly surprising to find that the band courted by some of the biggest powers in the industry including Deep Purple manager Bruce Payne, and Atlantic Records sister label Atco, with whom the band eventually signed in 1980. Produced by renowned English producer Tim Friese Greene, the Touch album caused a sensation amongst fans of the genre being hailed as in instant classic and a record that would go on to become a touchstone for AOR in general.

Sadly, unlike their contemporaries, Touch never received the commercial acclaim that their music undoubtedly deserved. Despite this, however, the Touch legacy continues to endure to this very day.

Track listing: ‘Don’t You Know What Love Is’, ‘When The Spirit Moves You’, ‘Love Don’t Fail Me’, ‘Black Star’, ‘There’s A Light’, ‘So High’, ‘Last Chance For Love’, Yes (You Need To Rock M’ Roll)’, ‘Listen (Can You Fell It)’. BONUS TRACKS: ‘My Life Depends On You’, ‘Don’t You Know What Love Is’ (Live at Donington, 1980).

As the composer of numerous world wide smashes whose roll call of success includes songs performed by a plethora of top international talent from Bon Jovi (‘Livin On A Prayer’), Kiss (‘I Was made For Lovin’ You’), Aerosmith (‘Dude (Looks Like A Lady’), Alice Cooper (‘Poison’), Joan Jett (‘I Hate Myself For Lovin’ You’) to Ricky Martin ‘(‘Livin’ La Vida Loca’) and many more in between, Desmond Child’s influence on contemporary music is all encompassing and hugely influential.

But it wasn’t always that way. Back in 1977 Desmond was just another struggling New York City based performer/songwriter trying to catch a break in a business whose bedside manners left a lot to be desired. As the architect of Desmond Child And Rouge his vision was, even for the time, wildly on the theatrical side. Featuring no less than three female lead vocalists – that’s Maria Vidal, Myriam Valle & Diana Grasselli – and a style that could best be described as both flamboyant and beguiling, the band recorded two critically lauded but commercially rather unsuccessful studio albums.

‘Runners In the Night’ is generally regarded as the troupe’s piece de résistance, a record full of delightful twists and turns with a forceful melodic rock quotient that has been recognised as one of the genre’s most ambitious and impressive creations. Make no mistake, this is one of the best, if unheralded, AOR releases of all time.

Track listing: ‘The Truth Comes Out’, ‘My Heart’s On Fire’, ‘The Night Was Not’, ‘Goodbye Baby’, ‘Runners In The Night’, ‘Tumble In The Night’, ‘Scared To Live’, ‘A Feelin’ Like This’, ‘Imitation Of Love’, ‘Rosa’.

WHEN HUGELY popular hard rockers Mr Big’s single ‘To Be With You’ shot to #1 in the American charts in 1992 most assumed that it was an overnight rags to riches story.

For Eric Martin, the road to success had, in many respects, been long and frustrating. Based in San Francisco and managed by Journey Svengali Herbie Herbert, Martin’s career had long been big on promise but low on results. Amongst the critical cognoscenti, however, his reputation as one of the world’s best vocalists was always in the ascendant with praise never far from sight and always gushing.

‘I’m Only Fooling Myself’, his second solo album, originally issued in 1987, is a work of sublime perfection. It is an album that fully supports the notion that Eric Martin is blessed with one of the world’s greatest voices. In addition, the choice of material is truly astounding with song writing contributions from such impressive names as Nicky Chin, Paul Gurvitz, Simon Climie, Rob Fisher, Billy Steinberg, Tom Kelly, Dan Hartman and Myles Hunter to name but just a few.

Truly one of the greatest AOR albums of all time from unquestionably one of the world’s most revered vocalists.

Track listing: ‘These Are The Good Times’, ‘If You Believe Me’, ‘Everytime I Think Of You’, ‘I Can’t Relax’, ‘I’m Only Fooling Myself’, ‘Confess’, ‘Unfinished Business’, ‘Crazy World Like This’, ‘This Is Serious’, Gonna Make A Lover Out Of You’.

Molly Hatchet, from Jacksonville, Florida, were one of the biggest and best of the ‘new wave’ of Southern rock bands. Their self titled debut album was issued in 1978 and confounded the critics by selling over a million copies, making them one of the most popular live attractions in the US. And, as if to prove that it wasn’t a fluke, their follow-up album, ‘Flirtin’ With Disaster’, continued the success, selling double platinum and lodging itself in the top twenty album chart.

So, when original lead vocalist Danny Joe Brown opted to leave the band in 1980 and pursue a solo career, many thought that Hatchet’s days would be numbered. Amazingly nothing could’ve beeen further from the truth. With the appointment of new front man Jimmy Farrar they crafted yet another classic slice of southern fried rock, the prophetically titled, ‘Beatin’ The Odds’, which became yet another platinum success story.

Like its predecessors, ‘Beatin’ The Odds’ is another masterpiece of loud and proud southern rock, with guitars a blazing and guns a firing. New boy Jimmy Farrar fitted the role like he was born for the job, whilst the triple lead guitar work of Duane Rolland, Steve Holland and Dave Hlubek would give even Skynyrd a run for their money. Unquestionably this is a southern rock classic.”

24-bit remastering from original source tapes, 4 bonus tracks, 4,000 word story of the making of the album by Malcome Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Beatin’ The Odds’, ‘Double Talker’, ‘The Rambler’, ‘Sailor’, ‘Dead And Gone’, ‘Few And Far Between’, ‘Penthouse Pauper’, ‘Get Her back’, ‘Poison Pen’. BONUS TRACKS: ‘Beatin’ The Odds’ (Live 1981), ‘Few And Far Between (Live 1981), ‘Penthouse Pauper’ (Live 1981), ‘Dead And Gone’ (Live 1981)

DURING THE 1970’s, the glorious Sunshine State of Georgia had been a fertile breeding ground for home grown Southern Rock, nurturing, amongst others, the Allman Brothers Band, Grinderswitch and the Atlanta Rhythm Section. Doc Holliday, although not universally as well known as those big selling, stubble sporting whiskey soaked troubadours, were an important and highly valued addition to that linage of respected and revered musicians.

Developing a reputation as one of the hottest acts on what was affectionately termed the chittlin’ club circuit Doc Holliday - or Roundhouse as they were then known - eventually captured the ears of various power players in the record business. Wined and dined by cigar chomping executives at A&M Records they were eventually signed to a major contract in 1980.

Introduced to renowned English record producer ‘Colonel’ Tom Allom (Judas Priest, Strawbs, Nantucket) the coupling appeared an unlikely marriage, but the natural  bonhomie of both parties proved hugely infectious, helping to create one of the most impressive debut albums from a Southern Rock band since the early days of the Allman Brothers Band and Lynyrd Skynyrd.

24-bit remastering from original source tapes, 2 bonus tracks, 4,000 word story of the making of the album by Derek Oliver, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track listing: ‘Ain’t No Fool’, ‘Moonshine Runner’, ‘Magic Midnight’, ‘A Good Woman’s Hard To Find’, ‘Round And Round’, ‘Keep On Running’, ‘Never Another Night’, ‘The Way You Do’, ‘Somebody Help Me’, ‘I’m A Rocker’. Bonus Tracks: ‘Bad Love’ (Roundhouse Demo), ‘Crazy’ (Roundhouse Demo).

THE SOUTHERN Rock hall of fame is decorated with some of the finest voices in the music business; Ronnie Van Zant and Gregg Allman being two fine examples. Equally as impressive is the immediate and identifiable rasp of Danny Joe Brown, erstwhile vocalist for Jacksonville based multi platinum rockers Molly Hatchet. Helmed by Brown, Hatchet rocketed to success and then, just as they looked like consolidating their burgeoning superstar status, Danny quit.

Opting to call his own shots he set about forming the Danny Joe Brown Band, which like Hatchet featured a three guitar army, including childhood friend Bobby Ingram. Snapped up by Epic Records, the band we’re seconded at the world famous Compass Point studios in Nassau, with veteran English producer Glynn Johns (The Faces, The Who, The Eagles, Rolling Stones etc) recording their debut album.

The ‘DJB’ album is about as good a Southern Rock record as you will ever hear. With impassioned vocals and copious lead guitar playing, the songs are superior examples of a much maligned and now largely defunct genre. Indeed, it houses two of the movement’s greatest signature tracks; ‘The Alamo’ and ‘Edge Of Sundown’, the latter contains an extended guitar showdown in the finest Southern Rock tradition.

24-bit remastering from original source tapes, 4,000 word story of the making of the album written by Malcolm Dome, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track listing: ‘Sundance’, ‘Nobody Walks On me’, ‘The Alamo’, ‘Two Days Home’, ‘Edge Of Sundown’, ‘Beggar Man’, ‘Run For Your Life’, ‘Hear My Song’, ‘Gambler’s Dream’, ‘Hit The Road’.

These days Michael Bolton is synonymous with easy listening and a super slick middle of the road sound, but there was a time, not so long ago, when his mandate was far more in your face. During the mid eighties, Michael Bolton was at the forefront of the burgeoning melodic hard rock brigade rubbing shoulders (and most often leaving them in the dust) with contemporaries such as Bryan Adams, Billy Squier and Jon Bon Jovi to name but just a few.

‘Eveybody’s Crazy’, originally released in 1985, has been recognised as one of the greatest albums of its kind, a record so full of melodic rock goodness that it seems entirely implausible that it didn’t propel him to fame and fortune on the spot. Sadly and utterly inexplicably the album failed to make any commercial impact, forcing him to re-evaluate his musical horizons which, of course, resulted in a massively successful string of hit albums but in an entirely different and far more relaxed style.

With musical support from the cream of the New York session world including Kiss guitarist Bruce Kulick, Rainbow drummer Chuck Burgi, keyboardist Mark Mangold and various members of Kansas, Foreigner and Balance,  ‘Everybody’s Crazy’ remains one of the most essential, if criminally ignored, AOR release of the eighties.

24-bit remastering from original source tapes, 3,000 word story of the making of the album, previously unpublished photos, all spread out over a super 12 page full colour booklet.

Track list: ‘Save Our Love’, ‘Everybody’s Crazy’, ‘Can’t Turn It Off’, ‘Call My Name’, ‘Everytime’, ‘Desperate Heart’, ‘Start Breaking My Heart’, ‘You Don’t Want Me Bad Enough’, ‘Don’t Tell Me It’s Over’

Fronted, with a marvellous sense of style, by golden voiced Leigh Matty and supported by a team of grade-A band members, Romeo’s Daughter blazed a path - with impassioned vocals, great production and songs to die for - through the melodic rock hinterlands during the late eighties collapsing in an exhausted heap at the finishing line.

Produced by the legendary Robert ‘Mutt’ Lange and songwriter/performer John Parr, two of the hottest names in the business, and signed to the emerging powerhouse of Jive Records, the odds were stacked very much in Romeo’s Daughter’s favour. Sadly, despite lashings of great press, radio play and an exploratory trip to the US market, the promise was never fully realised.

Originally issued in 1989, the album courted instant critical praise not only for its quality and sophistication but also for the way it bought melodic British rock back into sharp focus after years spent in the doldrums. Compared with such mega luminaries as Heart and Def Leppard this album should have sold millions and propelled them to fame and fortune. Instead, we have been left with a rare example of one of the most complete and criminally overlooked albums of the late 80’s.

24-bit remastering from original source tapes, 3 bonus tracks, 4,000 word story of the making of the album, previously unpublished photos, all spread out over a super 16 page full colour booklet.

Track list: ‘Heaven In The Backseat’, ‘Don’t Break My Heart’,'I Cry Myself To Sleep At Night’, ‘Wild Child’, ‘Hymn (Look Through Golden Eyes)’, ‘Velvet Tongue’, ‘Stay With Me Tonight’, ‘Inside Out’, I like What I See’, ‘Colour You A Smile’

Bonus tracks: ‘Heaven In The Backseat’ (live), ‘Velvet Tongue’ (live), ‘I cry Myself To Sleep At Night’ (live)